[oldboys] posting

[Animas999@aol.com]

Subj:       obn-list

Date:       Mon, 12 Nov 2001 5:11:54 AM Eastern Standard Time

From:       Cornelia Sollfrank <cornelia@snafu.de>

To:     Animas999@aol.com


dear animas,

please send for our adminsitration your full name.

best, cornelia


FULL NAME: JULIANA EMILIA FUSCO MIYARES

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:::::"A smart artist makes the machine do the work":::::::::::::::::::::::

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:::::::::::::::::::::: [net.art generator]: http://www.obn.org/generator :

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:Cornelia Sollfrank | Rutschbahn 37 | 20146 Hamburg | Germany ::::::::::::

::::::::::::::::::::::::::::+49-(0)40-4104937:::mobile:+49-(0)173-6173348:


DEAR CORNELIA AND OBN LIST:
I HAVE NOT HEARD BACK SINCE SENDING YOU THE INFORMATION YOU REQUESTED. CAN 
YOU PLEASE POST THE FOLLOWING ANNOUNCEMENT ON YOUR LIST.
THANK YOU.

"DOLORES FROM 10h TO 22h "
 NET. PERFORMANCE 

Once upon a time in a not so faraway free trade zone at the northern edge of 
Mexico, a woman who cobbled machines together for a living was accused of 
trouble making at her job. Her boss locked her up in an office without food 
or water or a phone. He tried over and over to cajole her into signing a 
letter of resignation. He watched her to see if she would break down. She 
held out for twelve hours, and later she sued the company. Her boss told the 
judge that she was crazy and that it never happened. No one would claim to 
have seen her. 

Dolores from 10h to 22h is based on a story that no one saw.

On November 22nd, you can see what happened. 


Dolores from 10h to 22h is a net.performance by Coco Fusco and Ricardo 
Dominguez that will be broadcast live via internet on November 22nd, 2001 
from Kiasma, Helsinki’s Museum of Contemporary Art. 

To view the performance live and add your comments to the chat, log on to 
between 10am and 10pm (Eastern European Time).  
URL: www.kiasma.fi/ars/dolores



Artists’ Statement on Surveillance Culture

In today’ s culture of surveillance, net.culture vacillates between the 
narrative of Terror and the narrative of Pleasure.

According to the narrative of Terror, the proliferation of cameras equals 
power and security. Some feel safe if they know that everything is watched. 
Even more feel empowered knowing that a click on a button equals access to a 
world converted into pure information.

According to the narrative of Pleasure, the proliferation of games, 
voyeuristic spectacles and virtual scenarios  that have transformed our 
cultural imaginary lead to heightened and diversified enjoyment.  Some feel 
empowered by the ability to watch what looks like anyone’s most private 
moment, however obvious the simulation. The screenal landscapes of the 
surveyed world present a never-ending display of subjects offering themselves 
to our gaze. Thus, the politics of invasive looking is normalized by the 
erotics of exhibitionism.

The two stories are entwined in a deathly embrace.

Coco Fusco and Ricardo Dominguez




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